Zitat des Tages über Storyboard:
I don't storyboard. I guess it dates back to my days in live television, where there was no possibility of storyboarding and everything was shot right on the spot - on the air, as we say - at the moment we were transmitting. I prefer to be open to what the actors do, how they interact to the given situation.
When I storyboard, they're just fragments of thoughts. I write in three acts like a movie, so I have my plot points up on the preliminary storyboard.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
When I'm plotting out a book, I use a storyboard - I'll have maybe three lines across on the storyboard and just start working through the plot line. I always know where relationships will go and how the book is going to end.
The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
I think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.
I put the storyboard down and came back to it like two weeks later and saw that I had written 'Butt-Head' next to the picture, and it kind of made me laugh and I thought, Well, might as well go for every laugh you can get.
The storyboard department doesn't talk to the layout department, which doesn't talk to the writing department. They're all jealous of each other.
I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.
I write scripts in storyboard fashion using stick figures, and thought balloons and word balloons and captions. Then I'll write descriptions of what scenes should look like and turn it over to the artist.
One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.
I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.
I definitely storyboard, but I only start once I have cast and location. I like to find the world first.
The first thing I put down on paper is a storyboard, like a film director.
I was influenced by autobiographical writers like Henry Miller, and I had actually done some autobiographical prose. But I just thought that comics were like virgin territory. There was so much to be done. It excited me. I couldn't draw very well. I could write scripts and storyboard style using stick figures and balloons and captions.
After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.
I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.
As a storyboard artist, you have to be able to draw anything.
